section-80-album-cover2Artist: Kendrick Lamar

Album: Section 80

Label: Top Dawg Entertainment

Release Date: July 2, 2011

It was just last year when Compton emcee Kendrick Lamar rattled the industry with the much lauded mixtape Overly Dedicated.  Although Kendrick has recorded independently several years prior under the alias K. Dot,  it wasn’t until recently that he had broken into the industry on a broader scale due to the success of his aforementioned mixtape. Section 80 has already sold over 5,000 digital copies on iTunes in its first three days of sales with minimal mainstream media coverage which proves that he’s definitely an artist to look out for. However, as with any oft-anticipated debut, one question still looms in the air.  Does it live up to the hype?

In comparison to Overly DedicatedSection 80 is much darker in its tone.  With the laidback cut “Hol’ Up”  being  one of the few exceptions, listeners are often times forced to confront the harsh realities of Compton street dwellers. For a majority of the album, Kendrick raps as if he was perched on a palm tree perusing the Compton city streets with an eagle’s eye view. This is evident on tracks such as “No Make Up,” “Tammy’s Song,” and Keisha’s Song”  which all chronicle the bitter plight women go through in a male dominant society.  The most chilling out of all these, however, is “Keisha’s Song” which tells the tale of a young harlot struggling with her life as a prostitute.

Poe Man’s Blues,” “Kush and Corinthians,” and “Ronald Regan Era” address the problems young black males face in choosing between the street life and walking the straight and narrow path.  “Poe Man’s Blue’s” is a standout cut that is by far the brightest gem on the album. Despite it’s name, Kendrick refuses to let this track become a story of a poor man lamenting over his menial lifestyle.  Although he addresses problems involving himself and his family, he still offers a slither of hope for those in much dire situations with lyrics like, “This for my n*****/ uncles/ 23 hours sending me pictures/ I want you/ to know that I’m so determined to blow that you hear the music I wrote/ hope it gets you off Death Row/ you came home to a pocket full of stones/ to match your PC phone/ then you went back in/ so when I touch the pen/ the pen is in my view/ I’ma get it right/ just so you…”  On “Kush and Corinthians,” Kendrick shows the straight and narrow path can be a tight rope for many. In addition, he criticizes his hypocritical critics for their self righteousness . Indeed, he raps bluntly, “I’m dying inside/ I wonder if Zion is inside the heavens/ a condom, rollie, chain, a fat blunt and a mac 11/ is all I see in my life/ and they tell me to make it right/ but I’m right on the edge of everest and I might jump tonight/have you ever had known a saint that was taking sinner’s advice/well it’s probably you am I right/ if I’m wrong/you’re a fuckin lie.”

Nonetheless, this album isn’t totally filled with viscous introspection, and for fans who want to voyage into an escapist’s haven, Kendrick gives them the opportunity on “A.D.H.D.”  Here, fans are transmitted into a rap Neverland as Kendrick lays down a Krayzie Bone-esque flow over Sounwave’s trunk knocking beat. Needless to say, this is definitely a song worth bumping while cruising down the freeway, and  if it wasn’t for two of the biggest speed bumps on the album,“The Spiteful Chant” and “Blow My High,”listeners still would be bobbing their head ceaselessly.   While both aren’t terrible, it’s safe to say that neither is great as they both would’ve been better if treated as bonus tracks. Although one possibly could make the same argument for “Rigarmortis,” one can’t deny that he absolutely killed it past post mortem which make such shortcomings forgivable. In addition, Ab-Soul’s awe-inspiring performance on “Ab-Souls Outro” along with the revolutionary single “HiiiPower,” make certain that the master of ceremony is  still in complete control.

Now, some may be wondering if Section 80 surpasses the critically acclaimed mixtape Overly Dedicated, and to be perfectly honest, it does. Production wise both are virtually flawless, but in terms of concepts, Section 80 is more multi-faceted and deeper than its predecessor.  In addition, it’s almost impossible to listen to this album and not be implored into an irresistible head nod. Indeed, what’s truly remarkable about this album is that he gives the listener an option of either being an escapist,as in “A.D.H.D.,” or realist, as in “HiiiPower.”  This is by far one of the greatest albums to come out this year, and despite the album title, Section 80 fits in neither the lower echelon of Hip Hop or in the middle of rap’s Hooverville.

Let’s face it – judging an album on a scale of 1 to 5 mics just won’t cut it — that’s more of a magazine thing.  After constant office arguments regarding album ratings, we’ve decided to revise our album review process and fairly judge an artist’s work across multiple avenues.  At, we believe every album deserves an impartial review, taking into account both music and cultural relevance.


Purchase Kendrick Lamar’s Section 80


Artist: Shabazz Palaces

Album Title: Black Up

Label:Sub Pop

Release Date: June 28, 2011
With a name like Shabazz Palaces, your first thought might’ve been a bohemian, Afrocentric, 5 percent rap group that narrowly escaped the 90s.  If this was your first impression, at least you were on the right path. My first thought was, ‘who the f*** are these guys, where did they come from, and how did they garner such notoriety?’ As it turns out, Palaceer Lazaro, front man and only recognizable member of Shabazz Palaces, is none other than former Digable Planet emcee Ishmael “ButterflyButler. Although he and his enigmatic Seattle band have kept a noticeably low profile, abstaining from social network sites and literally doing a handful of interviews, Shabazz Palaces have developed somewhat of a strong following in the subterranean world due to their EPs and curiosity about the group. With the release of Black Up, an album title as inscrutable as the band name itself, Shabazz Palaces takes listeners on a mystifying musical odyssey.

As the album begins with “Free Press and Curl,” Shabazz Palaces makes one thing clear; they don’t give a flying 747 f*ck about conventional methods. They may not be as obscene or as blatant as Tyler, the Creator, but they don’t have to be.  Shabazz Palaces truly and literally let their music speak for themselves.  However, speaking for them is another thing, and quite honestly, it’s a difficult task.  With ten tracks, each spinning in retrograde fashion, the task of selecting a “stand out” track is even harder.  Listen to the album enough, however, and you’ll definitely gain an ear for the brightest, celestial track. Indeed, take “An Echo from the Host,” a darker, sinister sibling of “A Mili.” Although slower in comparison, the track still bangs in a Henry Evans kind of way. “Youlogy” is practically a song within a song. Beginning as an organized confused sound of drums and kicks, the track transitions into a mellow but grungy, jazz groove. In addition, Lazaro cleverly plays off of the eulogy concept and addresses the suicide route mainstream artists take by chasing materialistic dreams. In “Can You…Are You…Were You…,” Lazaro takes a more direct and blatant stab at the mainstream as he raps bluntly, “f*ck they rules, it’s a feeling.”

Even when it comes to topics such as love, Lazaro takes an unorthodox approach. Take for instance the ridiculously titled track “Treatease Dedicated to the Avian Airess from North East Nubis,” which in bohemian rap language probably translates to “girl, lets get to cuttin’.”  As comical as it sounds, the beat is far from romantic and the hook is a clear indicator of what he truly wants. If the lyrics “I want to be there/ I should be in there/ let me be in there/ I want to be there/ I wish I am there all the time,” aren’t a big enough sign that he wants to get his David Banner on, I’m not sure what is. Other stand out tracks include the soulful and jazzy tune “Endeavors for Never,” which features the soulful rap duo Theesatisfaction, and “Swerve… the Reeping of All That Is Worthwhile,” which might be the only single worthy cut on the entire album.

If any misstep should be mentioned on this album, it would be the arid production on “Recollections of the Wraith.” Limited to a primordial bass drum and kick, this is perhaps the most lackluster song on the entire album. If it wasn’t for the sultry female voice of Cat from Theesatisfation, this would definitely have many of you in REM before you could close your eyes. Nevertheless, this is a pretty solid album which proves Lazaro is one helluva of a song writer. Although, lyrically his bars and concepts don’t extend beyond their limits as much as the production does, he has an innate gift of timing and synchronizing his voice to the point where it feels as if it’s part of the song.

I must admit, I thought this was an overrated album given to an underrated artist. However, with each listen, I caught something that I haven’t heard before. With that said, there’s definitely an underlying tone to the album and it can’t be caught by merely skimming through or nodding your head. For those un-daring in their musical taste, this album may go no further than the shelf.  However, if you were a fan of Shabazz Palaces since day one (literally), you will definitely enjoy this album. Because Shabazz Palaces is more subterranean than most underground artists, it will no doubt be years before the rest of the world catches light of their glow. Nonetheless, I don’t believe Shabazz would have it anyway.

Let’s face it – judging an album on a scale of 1 to 5 mics just won’t cut it — that’s more of a magazine thing. After constant office arguments regarding album ratings, we’ve decided to revise our album review process and fairly judge an artist’s work across multiple avenues. At, we believe every album deserves an impartial review, taking into account both music and cultural relevance.


Purchase Black Up on iTunes

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